Mark Dawidziak

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For 244 reviews, this critic has graded:
  • 61% higher than the average critic
  • 1% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 0.9 points higher than other critics. (0-100 point scale)

Mark Dawidziak's Scores

Average review score: 70
Highest review score: 100 Years and Years: Season 1
Lowest review score: 0 Hot Properties: Season 1
Score distribution:
  1. Negative: 16 out of 244
244 tv reviews
    • 47 Metascore
    • 30 Mark Dawidziak
    The truly scary thing about Stephen King's Rose Red is its running time. Spectral chains aren't the only things dragging in this rambling haunted-house miniseries from the horrormeister, whose best-written best sellers move at a frighteningly crisp pace. There are times when "Rose Red" seems to hardly move at all. With its sluggish six hours stretched over three nights, the ABC miniseries is a case of way too little story occupying way too much prime-time space. [26 Jan 2002, p.E1]
    • Cleveland Plain Dealer
    • 71 Metascore
    • 90 Mark Dawidziak
    Bouncing between bloody good and bloody brilliant. [12 July 2006, p.D1]
    • Cleveland Plain Dealer
    • 82 Metascore
    • 80 Mark Dawidziak
    It changed the look of King’s lead vampire from a cultured villain to a ghoulish beast recalling Max Schreck’s makeup in “Nosferatu” (1922). [22 June 2013, p.E4]
    • Cleveland Plain Dealer
    • 82 Metascore
    • 100 Mark Dawidziak
    As deeply disturbing as it is brilliantly compelling. ... A top-to-bottom standout cast that makes the mesmerizing most of this potent material.
    • 92 Metascore
    • 100 Mark Dawidziak
    [The first five episodes of this fifth season] provide overwhelming proof that “Better Call Saul” remains one of the best shows of any kind anywhere on television. And Odenkirk hardly is the only compelling reason to follow this series. All of the characters are intriguing.
    • 76 Metascore
    • 80 Mark Dawidziak
    Although the pace is at times too deliberate and many of the story elements seem familiar (earning the dubious raised eyebrow Mr. Spock put to such good use), it’s not difficult getting to the end of this third episode. For one thing, the series looks terrific. For another, you’re in great company all the way. The cast is marvelous, starting with Stewart, the finest actor ever to wear a Starfleet uniform. His aging and conflicted Picard is an endlessly intriguing revival of the character. He not only keeps you involved but also (to borrow the captain’s trademark phrase) engaged.
    • 49 Metascore
    • 30 Mark Dawidziak
    This isn’t a parody. It’s deadly serious. And deadly is a description that also fits the direction and writing. ... Drearily paced, clunkily written “Christmas Carol.” Everything seems to take forever as we move awkwardly and clumsily from scene to scene.
    • 85 Metascore
    • 70 Mark Dawidziak
    Falling into an erratic pattern, the annoyingly choppy "Wonderland" follows an incredibly powerful moment with one that's incredibly forced. Intriguing confrontations lead to unrealistic plot twists or hackneyed resolutions. Artfully constructed dilemmas are undermined by cliches...For every step in a brilliant direction, Wonderland takes a stumble. A dark drama filled with dreary and haunting images, the ABC newcomer has ambition to spare. What it lacks is consistency. [30 March 2000, p.1E]
    • Cleveland Plain Dealer
    • 59 Metascore
    • 60 Mark Dawidziak
    A terrific vehicle for commenting on the state of the world? It should be. God, the Devil and Bob, however, is rarely as funny or as insightful as it should be. [9 March 2000, p.4E]
    • Cleveland Plain Dealer
    • 41 Metascore
    • 40 Mark Dawidziak
    Chiklis is saddled with a series that would need months of polishing just to be mediocre. The subtitle could be, "When Bad Shows Happen to Good People." [23 March 2000, p.6E]
    • Cleveland Plain Dealer
    • 49 Metascore
    • 50 Mark Dawidziak
    Although terribly familiar in design and execution, Battery Park does manage stretches when it amiably spins along in a Big Appleish "Spin City" sort of way. Goldberg's touch hasn't completely deserted him. [23 March 2000, p.6E]
    • Cleveland Plain Dealer
    • 55 Metascore
    • 60 Mark Dawidziak
    While tonight's pilot episode is uneven, it does provide the building blocks for a solid foundation. There is promise here, and there is the potential for quick disintegration. Which way will it go? How do I know? What do you think I am? Psychic? [5 Feb 2000, p.1E]
    • Cleveland Plain Dealer
    • 85 Metascore
    • 100 Mark Dawidziak
    Ambitious, imaginative, provocative and engrossing. ... A triumph of style and substance, it never sacrifices pace for preaching or pontificating. At least in the first six episodes made available to critics, it remains every bit as entertaining as it is intriguing.
    • 61 Metascore
    • 50 Mark Dawidziak
    Mirren is in full command of the role. ... But the script is nowhere near as commanding as her portrayal of Catherine. ... Our fascination with the story, though, comes and goes, even with Mirren consistently rising above and transcending the inconsistent writing.
    • 70 Metascore
    • 80 Mark Dawidziak
    An intriguing and surreal serving of fun fantasy. It’s an ideal role for Rudd. Well, make that two ideal roles for Rudd.
    • 66 Metascore
    • 80 Mark Dawidziak
    Like many an anthology series, it is a bit uneven, sometimes corny and clunky, sometimes wonderfully sweet and sentimental. But when on top of its game, “Modern Love” produces some magically romantic results. The touching first episode is enchanting proof of that. ... Another superb entry stars Dev Patel.
    • 72 Metascore
    • 80 Mark Dawidziak
    An endearing and often-poignant eight-part adaptation of John Green’s first novel. ... They [writer-producers Josh Schwartz and Stephanie Savage] are aided in this mission by performances that are every bit as refreshingly genuine as the writing.
    • 80 Metascore
    • 70 Mark Dawidziak
    The era-by-era approach can lead to a bit of a by-the-numbers feel, as Burns and Duncan make a mighty effort to touch every base in every decade. This also robs the film of the grand overall cohesion that holds together such epic efforts as “The Civil War” and “The Roosevelts.” Because of this, “Country Music” often feels like eight two-hour films rather than one intricately interwoven effort. But each of the segments is intriguing in its own way.
    • 61 Metascore
    • 30 Mark Dawidziak
    The ploddingly paced, awkwardly constructed Showtime production manages to turn the spectacular rise and fall of former Fox News chief Roger Ailes into a slog that is as tiresome as it is tedious.
    • 72 Metascore
    • 90 Mark Dawidziak
    It’s difficult enough staying on track having seen the previous two seasons. If you want to make up your loss, go back to the beginning and work your way toward the third season. And be prepared to be challenged. ... What hasn’t changed is that “Legion” remains an intoxicating experience laced with a grand sense of wonder. The humorous touches are every bit as clever as the visual treats. The performances are every bit as compelling as the production team’s command of the narrative.
    • 78 Metascore
    • 100 Mark Dawidziak
    Fear of the future informs every scene and every performance in “Years and Years,” a deeply disturbing yet absolutely riveting six-part British miniseries. ... Along the harrowing way, Davies is swerving ferociously from horror to humor to heartbreak to heartwarming, without ever losing his balance. And the magnificent cast goes right along with him, with particularly strong contributions by Kinnear, Reid and Thompson.
    • 65 Metascore
    • 70 Mark Dawidziak
    The cast, led by Kevin Bacon and Aldis Hodge, is exceptional. The intricate web of story lines is intriguing. And there are several moments when “City On a Hill” jumps to startling life, providing us a glimpse of the series it could become.
    • 82 Metascore
    • 90 Mark Dawidziak
    If the first three episodes of this second season are any indication, what’s waiting is another exceedingly wicked, exceedingly adult ride through riveting territory.
    • 86 Metascore
    • 100 Mark Dawidziak
    The highest compliment you can pay “Deadwood: The Movie” is that it is the continuation and the conclusion that both the series and its fans deserved. It’s just that good. It’s powerful, at times profound, at times bittersweet.
    • 68 Metascore
    • 50 Mark Dawidziak
    Williams never makes a wrong step, but, sadly, the same can’t be said for the writing and direction.
    • 60 Metascore
    • 40 Mark Dawidziak
    In spirit, mood, tone and execution, this somber and sodden series feels more like an attempt to do a Stephen King-like horror series.
    • 80 Metascore
    • 90 Mark Dawidziak
    A spoof that works for people who love vampire films and people who don’t. Even the obvious and sophomoric stuff is served up with a wicked twist. Humor and horror tend to be flip sides of the same coin (metaphoric means of dealing with painful subjects), and you find them twisting around each other in ferociously funny ways throughout these episodes.
    • 58 Metascore
    • 70 Mark Dawidziak
    Why does this murky version of Christie’s 1936 novel occasionally hit wearisome and plodding stretches? It’s never because of Malkovich’s portrayal. It’s the directing and writing that comes up short. ... Despite the erratic nature of the direction, “The ABC Murders” often is gripping fare, with each installment serving up more than its share of fiercely memorable moments.
    • 58 Metascore
    • 50 Mark Dawidziak
    It’s a frustrating run of intoxicating highs and off-putting lows, at least in the early going. ... As it stands, uncertainly, at the starting gate, it’s poised somewhere between pass and fail.
    • 75 Metascore
    • 80 Mark Dawidziak
    While Pugh, Skarsgard and Shannon hit vastly different emotional notes, each finds the shadings and conflicts that make these characters more and more compelling as the plot gets thicker, the players dig deeper and the stakes get higher. It is, Pugh, however, who makes the grandest impression in what is both a star and star-making turn. You might find yourself quibbling with some of Park’s direction, but never with Pugh’s performance.

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